Greatest Film Scenes
and Moments



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G (continued)
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Gone With the Wind (1939)

In the Best Picture-winning dramatic, romantic epic by director Victor Fleming, based upon Margaret Mitchell's sweeping 1936 novel about life in the American South during the Civil War and Reconstruction Period:

  • the image of the beautiful North Georgian cotton plantation known as Tara, owned by the O'Hara family, and the introduction of 16 year-old narcissistic and headstrong southern belle Scarlett O'Hara (Vivien Leigh), dressed in a beautiful white crinoline gown with ruffles while being courted by twin suitors on the front porch, and her exclamation about all the war talk: "Fiddle-dee-dee. War, war, war. This war talk's spoiling all the fun at every party this spring. I get so bored I could scream"
  • the words of Scarlett's father, white-haired Irish immigrant, and prosperous plantation owner Gerald O'Hara (Thomas Mitchell) about the value of the land: "Do you mean to tell me, Katie Scarlett O'Hara, that Tara - that land doesn't mean anything to you? Why, land's the only thing in the world worth working for, worth fighting for, worth dying for, because it's the only thing that lasts"
The Wilkes' Barbecue
Scarlett Seeking Out Ashley
Melanie with Ashley
First View of Rhett Butler
  • the opening sequence of a lavish BBQ held at the neighboring plantation of Twelve Oaks, owned by the Wilkes family; gentlemanly, idealistic, scholarly and sensitive son Ashley Wilkes (Leslie Howard) was to announce his engagement to his own sweetheart and shy cousin, pretty Melanie Hamilton (Olivia de Havilland), to Scarlett's consternation; Melanie was very kind and graciously praised Scarlett: "I've always admired you so. I wish I could be more like you"
  • the scene of Scarlett's first view of roguish Rhett Butler (Clark Gable) at the foot of the staircase at the BBQ, when she asked for the "nasty dark one" to be identified and was told: "My dear, don't you know? That's Rhett Butler! He's from Charleston. He has the most terrible reputation"; Scarlett responded to his sexually attractive gaze as he undressed her with his eyes: "He looks as if - as if he knows what I look like without my shimmy" - it was the beginning of an ever-fascinating and fiery Rhett & Scarlett relationship
  • shortly later, the memorable "Library Scene" when Scarlett energetically cornered the disinterested Ashley and declared her deep love for him, but he spurned her and vowed his love for Melanie instead; after Ashley stiffly walked from the room, in frustration, Scarlett threw a vase against the fireplace mantle; that was when she first met Rhett in person, who emerged; she was incensed that he had listened into her conversation with Ashley about her love for him (Scarlett: "Sir, you are no gentleman," with Rhett's retort: "And you, miss, are no lady")
Library Scene
Scarlett's Love Spurned by Ashley
Slapping Ashley
First Face-to-Face Confrontation with Rhett Butler
  • the disruption of the BBQ with the announcement of War Between the States, causing Confederates to rush to enlist to defend the South in the upcoming conflict
  • the character of Scarlett's (and the O'Hara's) outspoken, shrewd and tenacious black-housemaid Mammy (Oscar-winning Hattie McDaniel) with her oft-said: "It ain't fittin'" - knowing that Scarlett was secretly in love with Ashley, although she had decided to impulsively marry Melanie's weakly brother Charles Hamilton (Rand Brooks), who immediately afterwards died from illness early in the war, leaving Scarlett a widow (she complained: "I'm too young to be a widow")
  • the Atlanta benefit-charity ball ("The Monster Bazaar") scene in which Rhett Butler (a successful, exploitative blockade runner for the South) broke protocol, shockingly bid for the black-dressed "mourning" Scarlett ("Mrs. Charles Hamilton") - who surprisingly accepted ("Oh yes I will"), and then danced with her - causing much disapproval
  • the scene of Rhett's forceful kiss of Scarlett after presenting her with a present from Paris - a fashionable green hat; when he finally convinced her to kiss him, then he teasingly declined: "No, I don't think I will kiss you - although you need kissing badly. That's what's wrong with you. You should be kissed, and often, and by someone who knows how"
  • the crowds reading the casualty lists in Atlanta's outdoor square, in the aftermath of the Battle of Gettysburg
  • the lengthy siege of Atlanta scene, causing fearful citizens to evacuate, while Scarlett and Melanie volunteered in the Atlanta hospital, filled with dying and wounded; Scarlett witnessed one unfortunate soldier whose leg was being amputated without chloroform - he delivered a blood-curtling yell over and over: "Don't cut!"
  • the slow-moving pull-back crane shot from Scarlett walking through Atlanta's open-air "hospital" at the city's train station, searching for Dr. Meade (Harry Davenport) to help deliver Melanie's baby; the pull-back revealed rows of thousands of wounded/dying Confederate soldiers - in the final panoramic image she was lost in a sea of human suffering as a torn and tattered Confederate flag came into view
  • the scene of the impending delivery of Melanie's baby, when Scarlett heard young, simple-minded house-slave Prissy (Butterfly McQueen) hysterically whine: "I don't know nothin' 'bout birthin' babies" - although previously, she had bragged about her expertise and midwivery skills
  • the exciting "Burning of Atlanta" scene of Rhett's rescue of Scarlett (and Melanie, the baby and Prissy) in a run-down, rickety wagon pulled by an exhausted horse, when she pleaded: "I want my mother! I want to go home to Tara"; on the road outside the city where they joined bedraggled soldiers and others, Rhett spoke: "Take a good look, my dear. It's a historic moment. You can tell your grandchildren how you watched the Old South disappear one night"; at the crossroads to Tara, Rhett suggested he would desert her and leave her abandoned in the open country, and gave her control of the wagon; but then long-time suitor Rhett realistically proposed that if she yielded to his love, he would stay with her: "There's one thing I do know, and that is that I love you, Scarlett. In spite of you and me and the whole silly world going to pieces around us, I love you. Because we're alike - bad lots both of us, selfish and shrewd, but able to look things in the eyes and call them by their right names...I've loved you more than I've ever loved any woman"; Scarlett was incensed by his outrageous proposal and slapped him in the face - he disappeared into the reddish darkness
  • at Tara, Scarlett's discovery of her father's feeble-minded insanity, and the death of her mother due to typhoid; Scarlett vowed to be defiant and strong in a barren plantation field; after vomiting from eating a dug-up radish root vegetable; she raised her fists toward heaven and exclaimed: "As God is my witness, as God is my witness, they're not going to lick me! I'm going to live through this, and when it's all over, I'll never be hungry again - no, nor any of my folks! If I have to lie, steal, cheat, or kill! As God is my witness, I'll never be hungry again"
  • the sequence of Scarlett confronted by an armed Union deserter (Paul Hurst) on the staircase, who had arrived to loot her mother's jewelry, menace and possibly rape-assault Scarlett; when he called her: "Regular little spitfire, ain't ya," she cold-bloodedly shot the soldier in the face with Rhett's pistol
  • in the "Paddock" scene, Ashley's admission to Scarlett that he felt spiritless and afraid of "life becoming too real...losing the beauty of that, that life I loved...Now I find myself in a world which for me is worse than death. A world in which there's no place for me"
  • the scene of Scarlett hiding her poverty by wearing a green velvet gown sewn from Tara's living room drapes, in order to impress Rhett so he would pay Tara's taxes: "I'm going to Atlanta for that $300 and I gotta go looking like a queen"
  • Rhett's second marriage proposal to Scarlett: "You've been married to a boy and an old man. Why not try a husband of the right age, with a way with women?"; she responded with a taunt: "You're a fool, Rhett Butler, when you know I shall always love another man"; however, she was bullied into kissing him and then agreed to marry him - mostly for his money and to save Tara
Rhett's Second Marriage Proposal
  • the quick deterioration of Rhett's and Scarlett's marriage, compounded by Scarlett's vow of abstinence and her continuing love for Ashley; in a dramatic conjugal rape scene, the drunken Rhett asserted his will by carrying headstrong wife Scarlett up a long flight of stairs to their bedroom while threatening: "You've turned me out while you chased Ashley Wilkes, while you dreamed of Ashley Wilkes. This is one night you're not turning me out"; the next morning, Scarlett had clearly enjoyed their previous night's sexual experience - awakening with a smiling and happy face
Conjugal Rape Sequence and The Morning After
  • during one of their continuing arguments and threatened divorce, the pregnant Scarlett reached out to strike Rhett - she missed and accidentally fell headlong down the long flight of stairs, aborting his child that she was carrying
  • the scene of the death of Rhett and Scarlett's young daughter Bonnie Blue Butler (Cammie King), when she defied Rhett and attempted an impossible horse jump - her neck was broken and she was killed in the tragic horse-riding accident
  • the scene of Melanie's death-bed passing when with kind and gentle words, Melanie advised that Scarlett take care of her son, Ashley, and Rhett: "Look after him for me, just as you looked after me for him. Look after him, but never let him know...Promise?...Captain Butler, be kind to him...He loves you so"
  • the sequence of the last (and final) breakup between Rhett and Scarlett, when he told her: "It seems we've been at cross purposes, doesn't it? But it's no use now. As long as there was Bonnie, there was a chance we might be happy. I liked to think that Bonnie was you, a little girl again, before the war and poverty had done things to you. She was so like you, and I could pet her and spoil her - as I wanted to spoil you. But when she went, she took everything" - he walked down the stairs ready to say a final goodbye at the front door; she asked: "Rhett, if you go, where shall I go? What shall I do?" - he cooly responded with his closing line: "Frankly, my dear, I don't give a damn"
  • the conclusion, exhibiting Scarlett's tearful resilience, resoluteness and declaration of her resourcefulness - refusing to acknowledge defeat after Rhett's exit: "I can't let him go. I can't. There must be some way to bring him back. Oh I can't think about this now! I'll go crazy if I do! I'll think about it tomorrow. But I must think about it. I must think about it. What is there to do? What is there that matters? ..Tara!...Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!" - the film ended with a close-up of Scarlett's tear-stained face that slowly dissolved into an earlier shot - a long view of Scarlett standing alone under the gnarled tree with Tara in the background
"Frankly, my dear, I don't give a damn"
"After all, tomorrow is another day!"

Scarlett's Introduction: "Fiddle-dee-dee"


"That's Rhett Butler! He's from Charleston. He has the most terrible reputation"

Scarlett's Spiteful and Impulsive Decision to Marry Charles Hamilton


Atlanta Charity Ball - Rhett Bidding and Dancing with Widowed Mrs. Charles Hamilton (Scarlett)


Rhett: "You should be kissed, and often, and by someone who knows how"

The Tattered Confederate Flag at Train Station

Prissy: "I don't know nothin' 'bout birthin' babies!"

Flight From Burning Atlanta




Scarlett Rejecting Rhett's Marriage Proposal While He Fled Atlanta to Join the Army

Scarlett: "I'll never be hungry again"


Scarlett's Killing of Union Deserter at Tara

Scarlett Debasing Herself By Wearing Green Velvet Drapes to Impress Rhett

Bonnie's Tragic Death

The Good Earth (1937)

In Sidney Franklin's dramatic epic - an adaptation of Pearl S. Buck's famous novel published in 1931:

  • the arranged-marriage wedding day scene of self-sacrificing O-Lan (Luise Rainer), a kitchen slave sold from the "Great House"; to young peasant famer-bridegroom Wang Lung (Paul Muni), who was told: "She has a strong body, and will work well for you in your house and your fields. Take her and use her well! O-Lan, obey him! And bring him many sons. Bring the first son for me to see. Well, go, go, go!"; outside the palace, he had his first look at O-Lan and was dismayed by her crouched posture
  • as they were waking down a pathway together, she knelt down and picked up a discarded peach pit and said to her newly-wed young peasant farmer-husband Wang Lung (Paul Muni): "A tree will grow from this seed" - and later, she planted the seed that grew into a flowering peach tree; he looked at her in disbelief
  • the sequences of severe drought and famine, forcing O-Lan and Wang Lung to relocate to the city, after O-Lan had wisely insisted that he not sell their land: "No ! Not the land. We'll not sell the land. We'll keep it. We'll go south and when we return, we'll still have the land"
  • the terrifying revolutionary mob scene (filmed with 100s of extras) in which the palace "Great House" (of the powerful local rulers) was ransacked/looted and pregnant O-Lan was knocked down and trampled, and her stomach was stepped on during the mad rush (causing a miscarriage)
Discovery of Bag of Jewels - Fearful of Death
  • after she gained consciousness, O-Lan discovered a discarded bag of jewels, but her joy was short-lived; she fearfully realized that it would endanger her life when she saw a firing squad freely executing others who were suspected looters; fortuitously, she was saved from certain death when the regiment of soldiers was ordered to leave ("Prepare to march"); the jewels allowed her family to return to their land and become very prosperous ("Look! We can go back, we can go back to the land!") - she kept only two pearls for herself ("If I could have 2, only 2 small ones, 2 white ones... I wouldn't wear them, I'm much too plain-Iooking...But I could hold them in my hands, sometimes"
  • the scenes of straying husband Wang Lung entranced by seductive and pretty young tea house dancer Lotus (Tilly Losch) - he married her (she became his second wife) and gave her O-Lan's two pearls
  • the amazing, brilliantly-photographed battle against the locust plague and invasion devastating the crops and farms, when there was a buzzing, marauding locust attack on the land recreated with special effects, accompanied by the frantic efforts of poverty-stricken farmers to save their lands
  • the exhausted O'Lan's poignant deathbed scene in the film's ending when husband Wang Lung came upon the deathbed of his selfless and ailing first wife O-Lan; from a pouch, he returned the two pearls to her; he affirmed that she was always the one: ("But now I know that you are the one, and the best a man can have"); he was sorrowful about her coming death: ("This I cannot bear. I'd sell all my land if I could heal you...I beg you. Stay here with me"), but she told him: "I cannot. Forgive me" (she closed her eyes, and her head went limp on the pillow) - and as she died, the two pearls rolled from her outstretched hand and rolled onto the bed
O-Lan's Death
Pearls Rolled From Her Outstretched Hand
Wang-Lung: "O-Lan, you are the earth"
  • in the conclusion, Wang quietly walked outside to an adjacent, flowering peach tree planted by O-Lan on their wedding day; as he grasped two limbs, he spoke in a reverential tone as the film ended with a final fade-out - his words next to the peach tree outside were: "O-Lan, you are the earth"


O-Lan to Wang Lung: "A tree will grow from this seed"

Pregnant O-Lan Stepped On During Mob Scene

The Seductive Lotus

Locust Plague

Final Scene

The Good, the Bad and the Ugly (1966, It./Sp.) (aka Il Buono, Il Brutto, Il Cattivo)

In the final installment of Sergio Leone's violent, 'spaghetti western' trilogy, about a trio of gunslingers searching for a hidden treasure of $200,000 of Confederate gold (buried somewhere in Sad Hill cemetery) during the Civil War:

  • the introductions of Mexican bandit Tuco "the Ugly" Ramirez (Eli Wallach), Sentenza "the Bad" (Lee Van Cleef) (aka Angel Eyes), and bounty hunter Joe "the Good" - also known as "Blondie" (Clint Eastwood) (or "The Man With No Name") in the opening scenes, with titles
  • after Blondie's rescue of Tuco from three bounty hunters, the two were involved in a money-making scam; in the first scam, the two collected a $2,000 reward from a local sheriff, and in the second a $3,000 bounty; twice Blondie rescued Tuco by shooting the hanging noose around his neck, and they escaped together and unevenly split the bounty money; after the second instance, "Blondie" wanted out of their partnership, left Tuco stranded in the desert 70 miles from town without a horse, and rode off, bemoaning: "Such ingratitude, after all the times I've saved your life"
  • the sequence of Tuco and Blondie disguised as Confederate soldiers in gray uniforms (of dead Rebels), when Tuco spotted a platoon of troops moving toward them: "They're gray like us. Let's say hello to them and then get going. Hurrah! Hurrah for the Confederacy! Hurrah! Down with General Grant! Hurrah for General...Lee. God is with us, because he hates the Yanks, so, Hurrah!"; Blondie quipped: "God's not on our side because he hates idiots, also"; as it turned out, they watched as the soldiers swatted away, with their gloves, the gray desert dust from their blue Yankee uniforms - and the two were captured and taken to a POW camp
  • the scene in which Angel Eyes (posing as a Union sergeant in the POW camp) ordered a band of Confederate prisoners/musicians to play in order to drown out the screams of his tortured victims
  • Tuco's shooting, from under the foamy water of his bubble-bath, and remarking to the dead One Armed Man (Al Mulock) afterwards: "When you have to shoot, shoot, don't talk"
  • the Civil War battle for a strategic bridge and its explosive detonation to allow access to the Sad Hill cemetery held by the Union on the other side of the river
  • the touching and compassionate moment that Joe covered a dying soldier with his own duster and offered a cigarette for a final smoke
  • the climactic, excessive scene of a three-way duel/showdown (a quintessential Mexican standoff) in the vast circular Sad Hill Cemetery between the three ruthless, gunfighting drifters: enhanced by Ennio Morricone's score ("The Trio") and repeated detailed closeups (of guns in holsters and facial expressions with an astonishing 96 edits or cuts) played with increasing speed and frequency; the scene culminated in Blondie's gunning down of Angel Eyes who collapsed and died in an open grave, while Tuco stood there with an unloaded gun
The Makings of a Stand-Off Around the Perimeter of the Cemetery
  • in the memorable finale, Blondie ordered Tuco, who found himself helpless with the empty gun, to dig up an unmarked ("Unknown") grave in the remote cemetery in which the bags of Confederate gold (worth $200,000) were buried: "You see, in this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig"
  • Tuco's elation at the gold bags' discovery ("It's all ours, Blondie!"), but then a noose loomed into view, and Tuco was strung up - but again, he was ultimately rescued with Blondie's well-placed gunshot from a distance to sever the rope and drop him onto his share of the gold; Tuco yelled out a final insult: "Hey, Blond! You know what you are? Just a dirty son-of-a-b-!"


The Rescue of Tuco From Hanging But Afterwards, He Was Left Stranded



Tuco and Blondie Captured by Dust-Covered Yankee Soldiers

Tuco: "When you have to shoot, shoot, don't talk!"

Explosive Destruction of Strategic Bridge


Goodbye, Mr. Chips (1939)

In Sam Wood's classic drama told mostly in flashback about a beloved schoolteacher at Brookfield - a British boys' boarding public school:

  • the opening sequence in the late 1920s, introducing eighty-three year old retired schoolmaster Mr. Charles "Chips" Chipping (Oscar-winning Robert Donat), who had been ordered to remain at home due to a cold; however, the doddering, tardy "Mr. Chips" - who still lived on the school grounds - ignored his doctor's orders and was glimpsed shambling along in full academic garb (with mortar board and walking stick) toward an assembly; he joined an equally-tardy young "stinker" (new student) named Dorset; when Chips noted: "I've taught thousands of boys, right back to 1870. But I gave it up, gave it up fifteen years ago," the young boy remarked: "I say, you must be terribly old, sir," and Chips replied: "Well, I'm certainly no chicken, no chicken"
  • the beginning of a lengthy flashback (as he dozed off and reflected: "A long time ago, yes. A long time. Things are different now"); he remembered the early days of his school-mastering, when he was a shy, withdrawn 24 year-old Latin master arriving by train at Brookfield - he soon became an easy target for the boisterous pranks of rowdy, lower school boys; he was the object of scorn by many in the school when he detained his class for an afternoon to punish them, thereby preventing one of the best athletes in the class from participating in the all-important, crucial cricket competition; one of the boys, Peter Colley (Terry Kilburn), blamed him for the school's loss: "We've lost the cup. It's not just us. It's the whole school. We know you don't care how the fellows feel. Perhaps you don't want to be liked. Perhaps you don't mind being hated"; now one of the most unpopular teachers in the school, Chips responded: "If I've lost your friendship, there's little left that I value"
Student Peter Colley Disgruntled by Cricket Match Loss
and Telling Off Young Teacher Mr. Chips
  • the scenes of Chips' walking trip within Austria, when he met spunky British suffragette Katherine Ellis (Greer Garson); later, alone and unseen on the balcony, he overheard Katherine's rhapsodies about him (the 'knight errant') and the "thrilling" memories of their day on the mountain: "I'm sorry for shy people. They must be awful lonely sometimes"
  • the scene of their goodbye at the train station when Katherine shook Chips' hand and kissed him goodbye as she uttered the film's title: "Goodbye, Mr. Chips"; and then, Chips breathlessly proposed marriage to her after their short, genteel and restrained courtship, as he ran alongside the departing train ("Here, you'll have to marry me now, you know") and she accepted with the adverb: ("Dreadfully!")
  • the scene after wife Katherine's death (in childbirth) when the dazed but persevering Chips went to his classroom and sat stoically while listening to a student recite a Latin lesson - he stared blankly ahead and heard the music of the Viennese waltzes that he danced to with Katherine
  • the sequence of Chips' blunt response when directly urged to retire in his later years (with a pension) by a new, more progressive and modernizing headmaster Dr. Ralston (Austin Trevor) - the white-haired Chips, an old-fashioned relic from Brookfield's past, refused and stood up for the old traditions: "Modern methods! Intensive training! Poppycock! Give a boy a sense of humor and a sense of proportion and he'll stand up to anything! I'm not going to retire. Do what you like about it"
  • inevitably, the scene of Chips' retirement ceremony - and his delivery of a farewell address: "If you come and see me in the years to come, as I hope you will, you may see me hesitate. And you'll say to yourself, 'oh the old boy doesn't remember me,' but I do remember you, as you are now. That's the point. In my mind, you remain boys, just as you are this evening"
  • the tearful deathbed scene and conclusion in which Chips countered the Headmaster's statement that he never had children: "I thought I heard you say 'twas a pity, a pity I never had children. But you're wrong...I have...thousands of them...thousands of them...and all boys!" - and then he closed his eyes while smiling, as the camera rose up when he passed on - he dreamily remembered many schoolboys filing past to repeat their names at call-over, while the music of the school song swelled in volume in the background; the final lad, the superimposed image of the last Peter Colley, appeared and spoke directly into the camera: "Goodbye, Mr. Chips...Goodbye..."
"I have...thousands of them...thousands of them...and all boys!"
Schoolboys Filing Past
"Goodbye, Mr. Chips..."

Opening: Entrance of Elderly Mr. Chips

Dozing Off

Flashback to Chips' Arrival at School

Meeting Katherine During Hiking Vacation

Chips Overhearing Katherine: "I'm sorry for shy people"




Train Station Goodbye and Marriage Proposal

GoodFellas (1990)

In Martin Scorsese's crime mob-underworld classic - a true mobster story - about three violent "wiseguys" [Mafia slang for 'gangsters'], one of whom ultimately broke the gangster's code of 'never ratting on your friends':

  • the early scene of young Henry Hill (Christopher Serrone as youngster) delivering a monologue as a teenaged boy in East New York (Brooklyn) 1955 he intensely watched his glamorous idols - the 'gangsters' who used the nearby taxi stand as their front, across the street from his family's tenement apartment: "As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States. Even before I first wandered into the cabstand for an after-school job, I knew I wanted to be a part of them. It was there that I knew that I belonged. To me, it meant being somebody in a neighborhood that was full of nobodies"
  • the sequence of young Henry's grooming to become a 'goodfella' gangster - he loved the respect and notoriety the gang members received: ("People looked at me differently and they knew I was with somebody...At thirteen, I was making more money than most of the grown-ups in the neighborhood. I mean, I had more money than I could spend. I had it all"); he was advised by Jimmy 'the Gent' Conway (Robert De Niro) about two strict rules - "the two greatest things in life...Never rat on your friends and always keep your mouth shut"
  • the tense/comical scene in Sonny Bunz' (Tony Darrow) restaurant - the Bamboo Lounge where criminals regularly congregated, in which the loud-mouthed, volatile gangster Tommy DeVito (Joe Pesci) pranked the laughing, wise-guy Henry Hill (Ray Liotta as adult), by pretending to take offense and menacingly asking: "What do you mean, I'm funny? Funny how? How'm I funny?"
Bamboo Lounge Scene:
"What do you mean, I'm funny? Funny how? How'm I funny?
  • the scene of Karen's (Lorraine Bracco) first date with Henry at the Villa Capri restaurant when she was stood up - she narrated, in voice-over, her impressions of her rude, insensitive date: "I couldn't stand him. I thought he was really obnoxious. He kept fidgeting around" - and then she confronted him face to face out on the street with feisty distaste: "You've got some nerve standing me up. Nobody does that to me. Who the hell do you think you are, Frankie Vallie or some kind of big shot?" - he became even more attracted to her: "I remember, she screaming on the street and I mean loud, but she looked good. She had these great eyes. Just like Liz Taylor's. At least that's what I thought"
  • the long, 3-minute, unedited, Steadicam tracking shot of an overwhelmed Karen and Henry entering the Copacabana nightclub through the back entrance
  • the scene of Henry beating a guy's face with the butt of his gun after an unwelcome attempted rape assault toward Karen by his neighbor Bruce (Mark Evan Jacobs) - and Karen's voice-over turned-on response to his chivalrous, violent defense of her ("I got to admit the truth. It turned me on") - as she also began to lose her moral perspective and innocence
  • the gory sequence (in the film's opening and later) set in 1970 when old-time Gambino mafioso Billy Batts (Frank Vincent) was held in the trunk of Henry's car for a trip to some Connecticut woods; during their trip, they stopped over at Tommy's house for a full pasta dinner at midnight - an opportunity for Tommy to request a long butcher knife and shovel (and his mother's acceptance of his ludicrous explanation for his bloody shirt); later, both Tommy and Jimmy sadistically stabbed and shot Batts (multiple times)
  • during a friendly card game in the basement of the Suite, Tommy's belligerent intimidation of bar-boy and apprentice hood Spider (Michael Imperioli) with his gun: "Ya f--kin' varmint, Dance! Yahoo, ya motherf--ker...Round up those f--king wagons!"; he accidentally hit Spider in the foot; during the next night of play, the short-fused wiseguy Tommy - without warning, fired six shots into Spider's chest and killed him
  • the scene in which crazed with hurt Karen, feeling unloved by Henry's infidelities, straddled the awakening Henry with a pistol pointed at his head - to scare him to come back to her
  • in a federal prison in Lewisburg, Mafia boss overlord Paul Cicero (Paul Sorvino) "was doing a year for contempt" - and Henry was also serving time (ultimately four years), but both were given respect by bribed guards and received special privileges; the convicts prepared Italian pasta dinner meals with prime ingredients smuggled in (garlic, "veal, beef and pork," even lobsters, peppers, onions, salami, prosciutto, a lot of cheese, Scotch, red and white wine, and Italian bread) - they discussed their treatment: "See, you know when you think of prison, you get pictures in your mind of all those old movies with rows and rows of guys behind bars...But it wasn't like that for wiseguys. It really wasn't that bad"
  • the famous montage of the murderous elimination of other conspirators after the successful pre-dawn heist-raid at the Lufthansa cargo terminal at Kennedy Airport, netting millions - all accomplices involved in the heist were ordered killed to sever the links between Jimmy and the Lufthansa robbery
Johnny Roastbeef (John Williams) and wife (Fran McGee) in Pink Cadillac Convertible
Bodies of Air France Cargo worker Frenchy (Mike Starr) and Joe Buddha (Clem Caserta) in Dumpster
Frankie Carbone (Frank Sivero) Hanging on Meat Hook in Truck
  • the scene of Tommy's 'induction' into the Mafia when he dressed up to "look good" - however, he was suddenly whacked - revenge for his earlier unauthorized killing of Billy Batts; after being ushered into an empty room to take a blood oath into the upper echelons of the family, the camera took his point of view; he sensed his days were over - he was shot in the back of the head as he spoke his last words
  • the famous "drug bust" sequence (with frenetic jump-cuts) when Henry obsessively watched the clock and narrated a paranoid, hyperactive monologue while heavily intoxicated and coked-up with drugs; he had many things on his mind - he had to sell guns and ammunition, plan a drug courier trip with his kids' babysitter Lois (Welker White), and prepare a large Italian dinner for his family in the kitchen while being surveyed overhead by an FBI helicopter in the space of a caption-timed 16 frantic hours; the monologue ended when Henry was arrested by narcotics cops from the DEA when a gun was held to his head
DEA Drug Bust Sequence
  • the final image of Henry - now suburbanized after being inducted into the Witness Protection Program after testifying against his mobster family and breaking the code of honor - he had been placed in a suburban, midwestern town in a new tract home development, now suburbanized, homogenized, and normalized; he appeared at his front door in a blue bathrobe and bent down to pick up the morning paper; he realized that he would now have to live a normal, non-gangster life: "I'm an average nobody. I get to live the rest of my life like a schnook"
  • the homage to The Great Train Robbery (1903) - Tommy took six shots directly into the camera (presumably at Henry); it was an image in Henry's mind and a rhetorical flashback to his criminal life

Henry: "I always wanted to be a gangster"

Jimmy's Advice to Young Henry Hill

Henry's First Date with Karen Who Told Him Off

Henry and Karen's Steadicam Entrance into Copacabana


Tommy Requesting a Knife at His Mother's House Before Brutally Killing Billy Batts



Tommy's Cold-Blooded Murder of Spider


Karen Pointing a Gun at Henry's Head for Being Unfaithful


Tommy's Execution


Henry: "I'm an average nobody. I get to live the rest of my life like a schnook"

Tommy Taking Six Shots at the Camera (and at Henry)

Good Morning, Vietnam (1987)

In director Barry Levinson's comedy war drama, centering around the manic, partly ad-libbed and improvised on-air broadcasts of a mid-1960s Vietnam-era Armed Forces Radio DJ:

  • the opening broadcast of radio DJ Adrian Cronauer (Oscar-nominated Robin Williams) - beginning with his salutation in his debut show at 6 am before a barrage of non-stop humor: "Gooooooood Mor-ning, Viet-naaaaaam! Hey, this is not a test! This is rock and roll. Time to rock it from the Delta to the DMZ. Is that me, or does that sound like an Elvis Presley movie? Viva Da Nang. 'Oh, viva Da Nang. Da Nang me, Da Nang me, why don't they get a rope and hang me?' Hey, is it a little too early for being that loud? Hey, too late. It's 0600. What's the 'O' stand for? Oh, my God, it's early. Speaking of early, how about that Cro-Magnon Marty Dreiwitz? Thank you, Marty, for 'silky-smooth sound'. Make me sound like Peggy Lee"
  • his comparison of the DMZ to The Wizard of Oz: ("What is a demilitarized zone? Sounds like something out of The Wizard of Oz" -- (as Glinda) 'Oh no, don't go in there!' (as Winkies) 'Ohhh-wee-ohh, Ho Chi Minh.' (as Glinda) 'Oh, look, you've landed in Saigon. You're among the little people now' (Munchkin voice) 'We represent the ARVN Army, the ARVN Army. Oh, no. Follow the Ho Chi Minh Trail! Follow the Ho Chi Minh Trail!' (as Witch) 'Oh, I'll get you, my pretty!' (normal voice) 'Oh, my God, it's the Wicked Witch of the North. It's Hanoi Hannah!' (as Witch) 'Now, little GI, you and your little tutu, too!' (cackling) (accent as Woman) 'Oh, Adrian. Adrian, what are you doing, Adrian?' (normal voice) 'Oh, Hannah, you slut. You've been down on everything but the Titanic. Stop it right now'")
  • he continued on - pretending to talk to a listener named Roosevelt: "Can you help me?" "What's your name?" (as Black Man) "My name's Roosevelt E. Roosevelt." "Roosevelt, what town are you stationed in?" "I'm stationed in Poontang." "Well, thank you Roosevelt. What's the weather like out there?" "It's hot, damn hot, real hot. Hottest things is my shorts. I could cook things in it. Little crotch-pot cookin'." "Well, can you tell me what it feels like?" "Fool, it's hot! I told you again. Were you born on the sun? It's damn hot. I saw - It's so damn hot, I saw these little guys their orange robes burst into flames. It's that hot. Do you know what I'm talking about?" "What do you think it's gonna be like tonight?" "It's gonna be hot and wet! That's nice if you're with a lady, but it ain't no good if you're in the jungle." "Thank you, Roosevelt"
  • Adrian's joke about a "protective dike": ("The Mississippi River broke through a protective dike today." What is a protective dike? Is that a large woman standing by the river, goin' 'Don't go near there!' But Betty - 'Don't go near there! Get away from the river! Stay away from there'... I know we can't use the word 'dyke.' You can't even say 'lesbian' anymore, it's 'women in comfortable shoes.' Thank You.")
  • the abbreviation scene when DJ Cronauer used Army jargon to imitate Lt. Steven Hauk (Bruno Kirby) speaking about former Vice-President Nixon: "Excuse me, sir. Seeing as how the V.P. is such a V.I.P., shouldn't we keep the P.C. on the Q.T.? 'Cause if it leaks to the V.C. he could end up M.I.A., and then we'd all be put out in K.P."
  • and the DJ's commentary on the Pope's bathsoap product: ("Also the Pope decided today to release Vatican-related bath products. An incredible thing, yes, it's the new Pope On A Rope. That's right. Pope On A Rope. Wash with it, go straight to heaven. Thank you"); his assistant PFC Edward Garlick (Forest Whitaker) broke up in laughter
  • the broadcast of Nixon's real voice in an irreverent "off-color parody" - the DJ spliced in an embarrassing interview question asked of Nixon during a taped press conference: "I think I'd like to delve into something slightly more personal for the men in the field. How would you describe your testicles?" - Nixon answered - an actual quote from the press conference: "That they're soft and they're very shallow and they serve no purpose...They lack the physical strength"; Lt. Hauk reacted with dismay to the broadcast



Manic Broadcasts

Protective Dike Joke

Army Jargon Scene

PFC Edward Garlick's Reaction to the "Pope on a Rope" Joke

Lt. Hauk's Reaction to Off-Color Nixon "Parody"

Good Will Hunting (1997)

In director Gus Van Sant's coming-of-age drama about an angry, misguided, paranoid, and delusional 20 year-old who was provided direction in his life by a therapist, his friends and girlfriend:

  • the scene at a bar near Harvard University where 20 year-old, troubled but gifted genius and MIT janitor Will Hunting (Matt Damon) showed off his own intellect with debate words in order to humiliate a pretentious student named Clark (Scott William Winters), who bragged about his recent learnings: "...Were you gonna plagiarize the whole thing for us? Do you have any thoughts of your own on this matter? Or do you - is that your thing? You come into a bar. You read some obscure passage and then pretend - you pawn it off as your own, as your own idea just to impress some girls and embarrass my friend? See, the sad thing about a guy like you is in 50 years, you're gonna start doin' some thinkin' on your own and you're gonna come up with the fact that there are two certainties in life. One: don't do that. And two: you dropped a hundred and fifty grand on a f--kin' education you coulda got for a dollar fifty in late charges at the public library..."
  • the scene of the second meeting between South Boston psychologist and community college teacher Sean Maguire (Robin Williams) and Will Hunting at Boston Common on a park bench overlooking swan boats on the pond, when Maguire counseled Will about experiencing life more than rationalizing about it - he provided advice about really living life instead of using intellectual defense mechanisms:: ("You're just a kid. You don't have the faintest idea what you're talking about...You don't know about real loss, 'cause that only occurs when you've loved something more than you love yourself. And I doubt you've ever dared to love anybody that much. I look at you. I don't see an intelligent, confident man. I see a cocky, scared s--tless kid. But you're a genius, Will. No one denies that")
At the Bostom Common Park
  • Will's on-off romantic relationship with a graduating Harvard senior from Britain named Skylar (Minnie Driver), with plans to attend Stanford Medical School in the fall - she asked Will to join her in California but the non-committal Will was reluctant and turned angry when she questioned his willingness to break up their relationship: Skylar: "I just want you to come to California with me...Why not?...If you don't love me, you should just tell me...Why won't you come? What are you so scared of?...You live in this safe little world where no one challenges you and you're scared s--tless to do anything else." Will: "You just want to have your little fling with like, the guy from the other side of town. Then you're gonna go off to Stanford. You're gonna marry some rich prick who your parents will approve of and just sit around with the other trust fund babies and talk about how you went slummin', too, once.."; she responded by confronting him with the truth: "Why are you saying this?...So don't put your s--t on me when you're the one that's afraid....You're afraid of me. You're afraid that I won't love you back. You know what? I'm afraid, too. But f--k it, I want to give it a shot. And at least I'm honest with you"; during their emotional outburst, she professed her love for him no matter the circumstances of his abused upbringing: ("I love you. I want to hear you say that you don't love me. Because if you say that, then I won't call you and I won't be in your life") - they broke up after he coldly stated: "I don't love you"
  • the sequence of Will offered a lucrative and promising job with the government intelligency agency, the NSA - he refused it with a scathing tirade against the organization - acting against his own self-interest: "Why shouldn't I work for the N.S.A.? That's a tough one, but I'll take a shot....So what did I think? I'm holdin' out for somethin' better. I figure, f--k it, while I'm at it, why not just shoot my buddy, take his job, give it to his sworn enemy, hike up gas prices, bomb a village, club a baby seal, hit the hash pipe and join the National Guard? I could be elected president"
  • the sequence of construction worker and friend Chuckie Sullivan (Ben Affleck) challenging Will to do something with his life: "In 20 years if you're still livin' here, comin' over to my house to watch the Patriots games, still workin' construction, I'll f--kin' kill ya. That's not a threat. That's a fact. I'll f--kin' kill ya...Look, you got somethin' none of us have....You don't owe it to yourself. You owe it to me, 'cause tomorrow I'm gonna wake up and I'll be 50, and I'll still be doin' this shit. That's all right. That's fine. I mean, you're sittin' on a winnin' lottery ticket. You're too much of a pussy to cash it in, and that's bullshit. 'Cause I'd do f--kin' anything to have what you got. So would any of these f--kin' guys. Be an insult to us if you're still here in 20 years. Hangin' around here is a f--kin' waste of your time"; he then added that he hoped that Will would move on with his talents: "Let me tell you what I do know. Every day I come by your house, and I pick you up. We go out and we have a few drinks and a few laughs, and it's great. You know what the best part of my day is? It's for about ten seconds from when I pull up to the curb and when I get to your door. 'Cause I think maybe I'll get up there and I'll knock on the door and you won't be there. No 'Good-bye,' no 'See ya later.' No nothin'. You just left. I don't know much, but I know that"
  • the "It's not your fault" scene in which both Sean and Will discussed how they were victims of child abuse, and how the trauma continued to affect Will - with Sean's assurances that it wasn't his fault: (- "It's not your fault." - "Yeah, I know that." - "Look at me, son. It's not your fault." - "I know." - "No. It's not your fault." - "I know." - "No, no, you don't. It's not your fault. Hmm?" - "I know." - "It's not your fault." - "Alright." - "It's not your fault. It's not your fault." - "Don't f--k with me." - "It's not your fault." - "Don't f--k with me, alright? Don't f--k with me, Sean, not you!" - "It's not your fault. It's not your fault." - "Oh, God, Oh God, I'm so sorry")
"It's Not Your Fault"


Bar Scene





Discussing Future with Girlfriend Skylar



Disastrous Interview to Work at NSA


Advice From Chuckie: "You're sittin on a winnin' lottery ticket"



The Gospel According to St. Matthew (1964, Fr./It.) (aka Il Vangelo Secondo Matteo)

In writer/director Pier Paolo Pasolini's stark documentary-style, neorealistic, black and white, unpretentious biographical (literal or 'true life') recounting of some of the events in the New Testament epistle, featuring a cast of unknowns performing naturalistically, although often interpreted as a proto-Marxist allegory:

  • the film's first image after the opening credits -- a lingering, still closeup of the face of a very young, concerned-looking Virgin Mary (Margherita Caruso) - obviously very pregnant in a long shot, with a distraught-looking Joseph (Marcello Morante) nearby
  • shortly later in a vision, an Angel of the Lord (Rossana Di Rocco), a young girl, appeared before Joseph to reassure him and provide instruction: "Joseph, take unto thee Mary, thy wife, that which is conceived in her is of the Holy Ghost. She shall bear a son, and thou shalt call him Jesus. He shall save his people from their sins"
The Angel Appearing in a Dream-Vision to Joseph
  • and later after a short prologue of Jesus' infancy and childhood, the introduction of the dark, unibrowed, adult-aged, black-caped Jesus (Enrique Irazoqui) to preacher-prophet John the Baptist (Mario Socrate) in the rugged wilderness - for baptism (John the Baptist: "I have need to be baptized of thee, and comest thou to me?"), after which he wandered for 40 days/nights in the wilderness
  • the sequence of Jesus' many acts of healing and sudden miraculous transformation of five loaves and two fishes (one of many miracles) into a plentiful feast, and his instructions to his fishermen-disciples to boat to the other side of the water ("I wish to pray. Go. Cross to the other side before me"); his followers watched in amazement as Christ, in a distant dark silhouette, miraculously approached them walking on the water; although they thought he was a spirit, he spoke: "Be of good cheer, it is I. Be not afraid"
Jesus' Crucifixion
Jesus' Aged Mother
  • the final sequence of Christ's crucifixion, the final release of his spirit, his retrieval from the cross and burial, and the announcement that he had risen from his tomb by the angelic girl: "Fear not ye. Jesus, which was crucified, is not here. He is risen. Go and tell his disciples: He is risen, awaiteth you in Galilee" (spoken to followers, including Jesus' aged, smiling toothy mother (director Pasolini's own mother Susanna Pasolini))
  • the delivery of Jesus' instructive final words to his followers from a Galilean hillside (in partial voice-over), without any reaction shots: "All power is given unto me in heaven and earth. Go ye and teach all nations. In the name of the Father, and of the Son and of the Holy Ghost, teaching all things I have commanded. I am with you always, even unto the end of the world"

The Virgin Mary

Joseph

Pregnant Mary

Mary with Infant

Jesus Before Baptism by John

Jesus Walking on Water

Jesus' Last Words to Folloers

The Graduate (1967)

In Mike Nichols' classic 60's generation-gap comedy with a memorable Simon and Garfunkel soundtrack:

  • the opening credits with young and adrift recent college graduate Benjamin Braddock (Dustin Hoffman) on a plane 'descending' into LAX - and then standing mute by himself on the automated, moving walkway (with a monotonous recording: "Please hold the handrail, and stand to the right. If you wish to pass, please do so on the left") at the busy airport
  • the famous one-word line of advice from well-meaning Mr. McGuire at Benjamin's celebratory graduation party held in his honor by his materialistic parents in their home in Pasadena, CA: "Plastics...there's a great future in plastics"
  • the scene of Benjamin's aloofness and alienation when he stared into his fish tank's glass in his upstairs bedroom - he was interrupted by the sudden appearance of Mrs. Robinson (Anne Bancroft), the wife of his father's close business partner, who burst into his bedroom; eventually, she insisted that he drive her home because her husband had already left with their car; although he agreed to take her ("Let's go!"), she tossed his keys into the fish tank where he fished them out before they left together
  • the scene of the lecherous, Mrs. Robinson's brazen seduction of a bewildered Benjamin as she perched with her left leg on a bar stool in her home (with the camera shooting under her upraised leg) - and his befuddled reply-question: "Mrs. Robinson, you're trying to seduce me! - Aren't you?"
  • Mrs. Robinson's further assaultive seduction upstairs by exposing her breasts to him (seen in split-second, jump-cut flashes but first reflected in the picture of her daughter Elaine (Katharine Ross)) as she cornered him and blocked his exit: "Benjamin. I want you to know that I'm available to you, and if you won't sleep with me this time......if you won't sleep with me this time I want you to know that you can call me up anytime you want and we'll make some kind of an arrangement. Do you understand what I...?...Did you understand what I said?...Because I find you very attractive. Now, anytime you want, you just..."
  • the image of a disillusioned Benjamin submerged in his parents' swimming pool with scuba gear to escape from everything
  • Benjamin's nervous first-time check-in at the Taft Hotel for the affair for the first of their many trysts - and his attempts to be suave as he checked in, signing himself in as "Mr. Gladstone" and feigning sleepiness; he assured the room desk clerk (Buck Henry) that he had his toothbrush
  • and the seduction scene in the hotel room in which he prematurely kissed her while she was trying to exhale cigarette smoke; then, he spontaneously grabbed Mrs. Robinson's right breast and banged his head against the wall in frustration, babbling moral platitudes ("I think you're the most attractive of all my parents' friends") and resolving to end the affair before it began
Seduced in the Taft Hotel Room
  • the jump-cut of Benjamin hoisting himself up onto an inflatable rubber pool raft and landing on top of Mrs. Robinson in bed (and another jump cut to his backyard pool with his father asking his lounging son: "Ben, what are you doing?") - with his response that he was "drifting"
Jump-Cut Editing
  • the sequences of Benjamin's dating of the more appropriately-aged Elaine; during their first date, he deliberately tried to put Elaine off by being offensive; without communicating with her (wearing his sunglasses at night), he drove recklessly in his sports car and then marched ahead of her into a tawdry strip joint to humiliate her; a stripper (Lainie Miller) twirled the dangling tassels on her bare, rotating breasts directly behind Elaine's head, while Ben asked: "You're missing a great effect here. How'd you like that? Could you do it?"
  • the scene of Benjamin's shocking reveal to his girlfriend Elaine, in her upstairs bedroom, that he was sleeping with her mother (with Mrs. Robinson standing outside the open door listening): "That older woman that I told you about?...The married woman. That wasn't just some woman..." - the revelation was artfully shot - she glanced at her mother and then looked back at Benjamin; Elaine's out-of-focus face slowly came into focus as she realized the woman having an affair with Benjamin was her mother; totally offended and hysterical, Elaine first reacted: "Oh, no. Oh, my God," and then refused to speak to Benjamin; she screamed as she ordered him out
  • Benjamin's mad drive and frantic rush toward a Santa Barbara church - and running out of gas a few blocks away (he was forced to go on foot - at an extreme depth of focus camera, making him appear to be running in place) to stop Elaine's in-progress wedding to another man in order to rescue her
  • the view of Benjamin behind the church's choir loft window in the balcony and raising his hand up and repeatedly banging on the pane of plate-glass while crying out: "Elaine!" (desperate that the ceremony had already concluded); he descended to the ground floor, knocked Mr. Robinson to the floor, pushed the bridegroom back, and grabbed newly-wed Elaine, as Mrs. Robinson confronted her daughter and shouted: "Elaine, it's too late!" - she responded with the film's last line: "Not for me!"; Mrs. Robinson slapped Elaine twice across the face to bring her back to reality, but it was in vain
  • the image of Benjamin wielding a large golden church cross like a weapon, and then securing the church door with the cross as he and Elaine ran from the church
The Escape From the Wedding - Bus Ride
  • the final lingering shot of them boarding a yellow Santa Barbara municipal bus, sitting in the back seat, and riding into an unknown future

Opening Credits

"Plastics"

Mrs. Robinson in Benjamin's Bedroom

"Mrs. Robinson, you're trying to seduce me! - Aren't you?"


Appearing Topless and Blocking Benjamin's Exit

Adrift in Pool

Check-In at the Taft Hotel

Elaine (Katharine Ross)

Benjamin: "You're missing a great effect here"

Reveal Scene

Racing to the Church



Pounding on the Glass: "Elaine!"

Grand Hotel (1932)

In Edmund Goulding's Best Picture-winning melodramatic ensemble film (also an example of a portmanteau picture), featuring all of MGM's stars of Hollywood's Golden Age, in the setting of a ritzy, art-deco Berlin hotel between the wars - and detailing the intertwined lives of five guests over a two-day period, including two females:

  • after the film's opening sequence of five simultaneous telephone conversations by guests at the Grand Hotel (to introduce the film's major characters), the delivery of the film's opening line in the lobby by world-weary house physician Dr. Otternschlag (Lewis Stone): "Grand Hotel. People coming, going. Nothing ever happens"
  • one of the main characters: a young, ambitious, struggling and on-the-make beautiful stenographer Flaemmchen (Joan Crawford) - who aspired to be a movie star and live the good life; she was one of two women being seduced by Baron Felix von Gaigern (John Barrymore), a suave, noble, elegant and dashing gentleman hotel jewel thief; in one daring line, he propositioned her in the hotel's 6th floor circular corridor with a very forward, playful Pre-Code inquiry after learning her occupation: "I don't suppose you'd, uh, take some dictation from me sometime, would you?"
  • a second character: fragile, isolated, aging, suicidal, forlorn, lonely-for-love Russian ballerina Grusinskaya (Greta Garbo) also briefly fell in love with the financially-ruined Baron Felix von Gaigern with whom she shared sensuous kisses in her room, and spent an overnight together
  • some of Garbo's immortal lines - she actually asked to be "alone" three different times: "I want to be alone" (spoken to her manager), a second insistent: "I just want to be alone," and then a third statement: "But I want to be alone" to the Baron (who asked her: "Please let me stay")
  • later in the film, the financially-struggling Flaemmchen was hired by tyrannical, unethical General Preysing (Wallace Beery), an industrial magnate, to be his personal typewriting stenographer; he tried to be intimate with her by paying for her adjoining hotel room; in her room next to his, he attempted to proposition her - after complimenting her slender figure, he asked with a leering hint: "Are you going to be nice to me?... Very nice?...Miss Flaemm. You like me just a little bit, don't you?"
  • the film's final line, a mirror of the earlier line voiced in the lobby by disfigured war veteran/physician Dr. Otternschlag, who never received messages at the desk nor noticed the multi-charactered dramas in the hotel and how lives were changed: ("The Grand Hotel. Always the same. People come. People go. Nothing ever happens"); outside, the driver of an arriving bus announced: "Grand Hotel!"

Asking for Dictation: Flaemmchen Seduced by the Baron


Grusinskaya Also Seduced by the Baron

"I want to be alone"

Final Line: "People come. People go. Nothing ever happens"

Grand Illusion (1937, Fr.) (aka La Grande Illusion)

In Jean Renoir's Nazi-banned, anti-war masterpiece about a prisoner of war camp during WWI in 1916, and the 'grand illusion' and hypocrisy of men at war - the first foreign film to be nominated for an Academy Award for Best Picture:

  • the scene of aristocratic, stern but gracious host Prussian officer Capt. von Rauffenstein (Erich von Stroheim) inviting two French officers after shooting them down and capturing them as POWs to an elegant lunch before they were taken to the Hallback prison camp: aviator-pilot, working-class plebian mechanic and French officer/hero Lieut. Marechal (Jean Gabin) and aristocratic nobleman Capt. de Boeldieu (Pierre Fresnay) - the Prussian officer promised them preferential treatment ("If they're officers, invite them for lunch...I am honored to have French guests");
  • the camaraderie between two opposing enemy officers with common aristocratic roots; at one point, Rauffenstein confided in Boeldieu: "I don't know who will win this war, but whatever the outcome, it will mean the end of the Rauffensteins and the Boeldieus"
  • the famous musical variety-revue show sequence in the prison: one of the men donned a women's costume as everyone raptly watched - and a tuxedoed singer Cartier (Julien Carette) sang a nonsense-song during the vaudeville show: ("Have you met Marguerite? She is neither tall nor petite. With eyes that glow, Skin like snow, and Lips in a Cupid's Bow, Well when this divine creation...") and led a group of prisoners dressed as female-impersonating showgirls in a stage dance
Musical Variety-Revue Show in Prison
Cartier's Nonsense-Song
Female Impersonators
Marechal "Stop the show, fellas!"
Singing the Marseilles Anthem
 
  • the interruption of the stage show by news from the front - read backstage in a newspaper by French prisoners Marechal and wealthy French Jew Lieut. Rosenthal (Marcel Dalio); Marechal took the stage and shouted out the recent news that the French had retaken Fort Douaumont in the epic Battle of Verdun: "Stop the show, fellas! We've captured Douaumont! It's in the German papers" -- the group of French POWs (on stage and in the audience) defiantly and proudly began to sing their national anthem - the Marseilles - in front of their German guards-jailers in a one-minute moving frame shot amongst the men
  • the sequences of the POWs digging an escape tunnel, but all for naught when the prisoners were transferred to a different prison camp
  • the scene of Russian prisoners opening up a wooden crate sent from the Empress, who insensitively sent them textbooks and cookbooks instead of food
  • the iconic image of von Rauffenstein as a stiff, uniformed Prussian aristocrat with a steel back and neck brace, white gloves (to cover battle burns) and wearing a monocle - now promoted (after war injuries) to be commandant of Wintersborn, a converted, medieval 13th century castle - the German's maximum-security camp
  • and the later scene of Boeldieu's fatal self-sacrificing diversion (an incident that allowed Marechal and Lieutenant Rosenthal to escape), when he was shot in the stomach by reluctant Capt. von Rauffenstein
  • the touching deathbed farewell to Boeldieu by the consoling and mourning German von Rauffenstein - as a poignant gesture after Boeldieu's death, Rauffenstein clipped a flower from his geranium plant to honor his friend and to punish himself
  • the fugitive escapees (injured Rosenthal and Marechal) taking refuge in the remote farmhouse of widowed German farm woman Elsa (Dita Parlo) and ultimately finding safety across an invisible border as they traversed through a snowy valley - when German troops came upon them and began shooting, the patrol leader shouted out: "Don't shoot! They are in Switzerland," to which another responded: "All the better for them"; the final view was of the two trudging through deep snow to freedom

Capt. von Rauffenstein with Two French POWs: Marechal and de Boeldieu

Camaraderie Between the Enemy Officers: de Boeldieu and von Rauffenstein

Prisoners Digging an Escape Tunnel

Wooden Crate with Textbooks and Cookbooks, Not Food

Stiff Prussian Aristocrat: von Rauffenstein - Prison Camp Commandant

Boeldieu's Deathbed Scene

Widowed German Farm Woman


Ending Scene: "Don't shoot! They are in Switzerland"

The Grapes of Wrath (1940)

In John Ford's seminal film, an adaptation of John Steinbeck's 1939 novel, with documentary-like photography of cinematographer Gregg Toland, about migrant tenant farmer Okies in the Depression-Era:

  • the opening scene of a flat, paved highway road in rural Oklahoma lined by telephone poles, focusing on a small figure walking towards a crossroads; the man, later identified as Tom Joad (Henry Fonda), asked a nervous truck-driver for a lift - he had been released from prison (on early parole after serving a short prison term of four years for homicide) and was hitchhiking on his way home to his family's 40-acre sharecropping farm
  • during his long trek home, Tom's dramatic meeting with slightly mad, apostate, itinerant ex-preacher Casy (John Carradine), who described his spiritual loss ("I lost the spirit. I got nothin' to preach about no more, that's all. I ain't so sure of things")
  • after arriving at the dark, wind-blown Joad cabin, Tom was stunned to find it abandoned and deserted - from the shadows emerged a crazy, "touched," dispossessed tenant farmer - former neighbor Muley Graves (John Qualen) who became deranged after surrendering his land; Tom learned that his own family, two weeks earlier, was forcibly evicted to the farm of Uncle John, but they would be there only short-term; Muley described what was happening: "Everybody's got to get off. Everybody's leavin', goin' out to California. Your folks, my folks, everybody's folks" - he blamed everyone's problems on the weather's dust storms: "The dusters. They start it anyways. Blowin' like this year after year. Blowin' the land away. Blowin' the crops away. And blowin' us away now"
  • the two flashbacks and speeches of Muley about losing the land; in the first flashback, he remembered how he, one of the dispossessed, was driven off the land by the Shawnee Land and Cattle Company, and he told about what his lost land meant to him: ("There ain't nobody gonna push me off my land! My grandpaw took up this land seventy years ago. My paw was born here. We was all born on it. An' some of us was killed on it. (Muley squatted down and fingered the dust of the farm he had just lost.) An' some of us died on it. That's what makes it arn. Bein' born on it and workin' on it and dyin', dyin' on it. An' not no piece of paper with writin' on it")
  • in his second flashback, Muley - with his shotgun - powerlessly confronted a house-demolishing caterpillar, and explained why he still remained afterwards: "There wasn't nothin' to eat, but I couldn't leave. Somethin' just wouldn't let me. So now I just wander around and sleep wherever I am. I used to tell myself that I was lookin' out for things, so that when the folks come back everything'd be all right. But I know'd it wasn't true. There ain't nothin' to look out fer. There ain't nobody ever comin' back. They're gone! And me, I'm just an old graveyard ghost. That's all in the world I am"
  • at the Joad household (now residing temporarily at Uncle John's farm), the sequence of Tom's nostalgic reunion with his mother Ma Joad (Oscar-winning Jane Darwell) in the yard - she was concerned about his well-being after being hardened by prison life: "Did they hurt ya, son? Did they hurt ya and make ya mean mad?...Sometimes they do somethin' to ya. They hurt ya and ya get mad and then ya get mean. Then they hurt ya again and ya get meaner and meaner til you ain't no boy nor man anymore, just a walkin' chunk of mean mad. Did they hurt ya that way son?...Why, I don't want no mean son"
Tom's Reunion with Mother
Handbill for Employment in California
Ma Joad Burning Letters and Keepsakes (Holding Earrings to Her Ears)
  • the scene of widowed Uncle John (Frank Darien) who enthusiastically showed off a handbill advertising high wages for workers in California to harvest fruits and vegetables, their only alternative to facing eviction the following day
  • the pre-dawn, candle-lit scene of Ma Joad, accompanied by the plaintive strains of "Red River Valley" on an accordion, pausing to moon over and then burn her letters and souvenir-keepsakes (a newspaper clipping, a postcard, a china souvenir, and earrings) in the stove (including the image of her holding earrings to her ears and viewing herself in a mirror)
  • the departure at daybreak in the Joad's dilapidated truck before a long drive from the Dust Bowl of Oklahoma to California during the Depression, with the promise of employment; Ma delivered a resolute speech about their leaving: "We're goin' to California, ain't we? All right then, let's go to California...I never had my house pushed over before. Never had my family stuck out on the road. Never had to lose everything I had in life"
  • the scene of the lunchroom waitress at a New Mexico filling station and truck stop diner who sold candy at reduced price ("two for a penny" instead of "a nickel a piece candy") to the migrant Joad children
  • the sequences of their arrival at three contrasting camps in California - the Hooverville Transient-Migrant Camp (14 minutes duration), the Keene Fruit Ranch (22 minutes duration), and the Farmworkers' Wheat Patch Government Camp (25 minutes duration) - mostly overcrowded and with exploitative work practices, exemplified in the scene of a land contractor hiring migrant laborers after driving into the Hooverville camp in a shiny convertible and offering cheap-wages employment picking fruit
  • the fateful scene of Casy's death (due to his organizing strikers) by club-wielding thugs at the Keene Ranch, and Tom's defensive reaction to the vicious attack by attacking and killing an authoritarian "tin-shield" guard in retaliation - another violation of his parole in addition to his migration - causing him to prepare to flee from his family
  • the sequence of fugitive Tom's eloquent farewell to his heartbroken Ma with the words: ("Well, maybe it's like Casy says. A fella ain't got a soul of his own - just a little piece of a big soul. The one big soul that belongs to everybody... Then it don't matter. I'll be all around in the dark. I'll be everywhere - wherever you can look. Wherever there's a fight so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready. And when the people are eatin' the stuff they raise, and livin' in the houses they build, I'll be there, too")
  • Tom Joad's march up a distant hillside - seen as a tiny image silhouetted against the morning sky; an outcast, he disappeared into the morning light - forever
  • in the final scene, the indomitable matriarch Ma's inspiring and meditative words in the front seat of a pickup truck, that she would hold the family together, and she vowed that no force could destroy the 'people's' will in their resilient, ever-moving search of work: ("We're the people that live. They can't wipe us out. They can't lick us. And we'll go on forever, Pa... 'cause... we're the people")
Tom's "I'll Be There" Speech
Silhouetted March Up Hillside
Ma Joad: "We're the people"


Hitchhiking Figure Walking Toward Crossroads and Getting Lift From Truck Driver

Tom Joad with Preacher Casy

The Deserted Joad Homestead

Muley's Protest: "There ain't nobody gonna push me off my land!"

Ma's Resolute Speech

The Long Journey to California

Candy Sold at Reduced Price

Exploitation of Workers at a Migrant Camp by an Employer


The Joads' Arrival at the Keene Ranch, An Oppressive Labor Camp

Gravity (2013)

In director and co-writer Alfonso Cuarón's and Warner Bros.' stunning sci-fi drama and outer-space survival tale - with amazing cinematography and CGI special effects to capture the breath-taking vastness and beauty of space:

  • the opening title card (white letters on black): "At 600KM above planet Earth the temperature fluctuates between +258 and -148 degrees Fahrenheit. There is nothing to carry sound. No air pressure. No oxygen. Life in space is impossible"
  • the opening sequence of a space-walk mission by veteran astronaut Lieut. Matt Kowalski (George Clooney) and mission engineer specialist Dr. Ryan Stone (Sandra Bullock) from their NASA space-shuttle the Explorer, as they were docked next to the Hubble Space Telescope (350 miles up) to repair and upgrade it
  • the frightening sequence of a cloud of stray space debris orbiting the Earth and striking the telescope and their NASA space-shuttle
  • the shocking discovery that the other crew members on The Explorer were dead, including Shariff (Phaldut Sharma) who was hit in the face by space debris and died instantly
  • the conversation between Stone and Kowalski, as they floated over to the International Space Station (ISS) (230 miles up) about the tragic death of her daughter: "I had a daughter. She was 4. She was at school playing tag. Slipped, hit her head, and that was it. Stupidest thing. I was driving when I got the call, so Ever since then, that's what I do. I wake up, I go to work and I just drive"
  • the dilemma facing the two stranded, floating astronauts, and the decision and self-sacrifice of astronaut Kowalski who commanded his partner to let go of the deployed parachute cords of the second Soyuz of the ISS, tentatively holding them: ("Ryan, listen...You have to let me go...the ropes are too weak. I'm pulling you with me. You have to let me go or we both die"); she allowed him to detach himself and float off to his death
Caught in Parachute Cords
The Self-Sacrifice of Kowalski - Letting Go of Stone
  • the womb imagery once Dr. Stone entered the door lock of one of the ISS' space pods
  • the sequence of the magical (hallucinatory) re-appearance of Kowalski urging the semi-conscious, suicidal Stone (who had turned off her oxygen supply) to find her will to survive, and to persevere: ("Listen, do you wanna go back, or do you wanna stay here? I get it. It's nice up here. You can just shut down all the systems, turn out all the lights, and just close your eyes and tune out everyone. There's nobody up here that can hurt you. It's safe. I mean, what's the point of going on? What's the point of living? Your kid died. It doesn't get any rougher than that. But still, it's a matter of what you do now. If you decide to go, you gotta just get on with it. Sit back, enjoy the ride. You gotta plant both your feet on the ground and start livin' life. Hey, Ryan? It's time to go home") - she was able to gather her strength and fortitude to propel herself (with landing rockets) and connect up to a nearby Chinese space station Tiangong and enter one of its escape pods
  • the difficult re-entry ("it'll be one hell of a ride") into Earth's atmosphere in one of Tiangong's small pod-capsules; before the re-entry, she spoke: "It's starting to get hot in here. OK. Alright the way I see it, there's only two possible outcomes. Either I, make it down there in one piece and I have one hell of a story to tell. Or I burn up in the next ten minutes. Either way, whichever way, no harm no foul"
  • the reentry pod-capsule holding Dr. Stone tumbled and dangerously overheated, caught fire due to a malfunctioning heat shield, and landed in a lake; she was forced to evacuate the pod almost immediately, stripped off her spacesuit to avoid drowning, swam to the surface, and miraculously reached the shore (a scene symbolic of her rebirth as she struggled to evacuate from the water) - a low-angle shot focused on her feet and then tilted up to her face - showing her bravely standing and confronting new life
Fire
Pod Capsule
Crash Landng in Lake
Gasping for Air
Crawling on Land
Rising Up



The Opening Scene - A Space Walk Mission at the Hubble Telescope

Space Debris Causing Massive Destruction

Dead Crew Member Shariff from Explorer

Separated in Outer Space

Womb-Imagery

Hallucinatory Re-Appearance of Kowalski

Dangerous Re-Entry

Grease (1978)

In Randal Kleiser's quintessential pop musical with a 50s score, and the romantic comedy's setting of a high school in Southern California, with the portrayal of the various cliques at Rydell High School in the late 1950s: the leather-jacketed greasers known as T-Birds, and the rebellious Pink Ladies:

  • the late 50s characters: swaggering but limber American greaser Danny Zuko (John Travolta) - leader of the leather-jacketed T-Birds, sweet and virginal Australian Sandy Olsson (Olivia Newton-John) (until the finale) - on vacation and Danny's summer lover in 1958, and ultra-cool bad-girl Rizzo (Stockard Channing) - leader of the Pink Ladies and Danny's ex-girlfriend
  • the cross-cutting, paralleled duet of "Summer Nights" - an infectious sing-along paralleled duet; both Sandy and Danny presented their own versions of their summer romance to friends: ("Summer lovin' had me a blast - summer lovin', happened so fast, I met a girl crazy for me - I met a boy, cute as can be, Summer days driftin' away, to uh-oh those summer nights, Tell me more, tell me more, did you get very far? Tell me more, tell me more, like, does he have a car?")
Paralleled Duet: "Summer Nights"
  • the sequence of Sandy's surprise reappearance at school for the fall, due to a change of plans rather than going back to Australia, and her enrollment as a transfer-exchange student, but Danny (although overjoyed to see her) had to maintain a false and cool facade with his T-Birds and not show so much interest in her; she was upset by his phoniness and told him off: "What happened to the Danny Zuko I met at the beach?...You're a fake and a phony and I wish I'd never laid eyes on you!"
  • the ups and downs of the romantic relationship (with break-ups and reunions) between rebellious bad boy Danny and good-girl Sandy
  • the various stereotypical scenes of life as a teenager - at a football pep rally, a local malt shop The Frosty Palace, at a school dance, a drive-in movie theatre, and a graduation school carnival
  • the many production and dance numbers, such as the title song: "Grease", and other hits in the likeable, top-selling soundtrack, including a lamenting and wistful Sandy's singing of the poignant: "Hopelessly Devoted to You" - sung one night when she sat on her outdoor porch in her white nightgown; and the wild, profanity-laced ode to the sexy muscle car of Danny's dreams, titled "Greased Lightnin'", sung in an auto-shop ("Well this car is systematic, hydromatic, ultramatic - Why, it could be Greased Lightnin'!")
"Hopelessly Devoted to You"
"Greased Lightnin'"
  • the drive-in movie theatre scene of a heartbroken Danny's singing of "Sandy"; after he had presented her with his ring ("Sandy, would you wear my ring?"); she responded positively ("Oh Danny, this means so much to me. "Cause I know now that you respect me"), but then tried to have sex with her - causing her to run off; he sang as he wandered through the parking area and playground of the outdoor drive-in in front of the giant screen
  • the exciting 'Thunder Road' drag-race (for "pink slips, ownership papers" of the loser's car) in a dry riverbed (filmed in Los Angeles) between substitute driver Danny and Leo ("The rules are, there ain't no rules. To the second bridge and back. First one back wins....You ain't gonna see me for dust, Zuko"); with bladed tires, Leo's hot-rod sliced into the side of Danny's car (homage to Ben-Hur), but Danny won nonetheless
  • the climactic, show-stopping finale of "You're the One That I Want" at the school carnival between Sandy (in a skin-tight black outfit, transformed into a greaser) and Danny in a black T-shirt, followed by "We Go Together" sung by the ensemble cast, and ending with the two driving - and flying away (!) into the clouds in a red hot-rod, to the tune of "Greased Lightnin'"
"You're the One That I Want"

Pink Ladies: Rizzo (Stockard Channing)

Sandy: (Olivia Newton-John)

T-Birds: Danny
(John Travolta)



"Sandy" - Sung at Drive-In Movie Theatre After Failed Attempt at Making Out



The Start of the 'Thunder Road' Drag Race

"We Go Together"


Driving (Flying) Away with Sandy in Danny's Red Hot-Rod

The Great Dictator (1940)

In director/actor Charlie Chaplin's controversial political (anti-war) slapstick comedy satire on world conditions and fascism at the start of World War II (it was Chaplin's first all-talking feature film), the lampooning of Adolf Hitler (in the role of Adenoid Hynkel) and The Third Reich - it was Chaplin's last film with the Little Tramp character:

  • the scene of unnamed Jewish ghetto barber (Charlie Chaplin), actually an amnesiac soldier from WWI (who spent two decades in a military hospital) who returned to his anti-Semite police-state (Berlin?) with storm-troopers (functioning under a symbol of a "Double Cross"), and was seen shaving a customer in his barber shop, in time to a radio broadcast of Brahms' Hungarian Dance No. 5
  • the early caricatured scene of an exaggerated nonsense speech, delivered in mock-German by egomaniacal Hitler look-alike, the tyrannical Tomanian dictator Adenoid Hynkel (also Charlie Chaplin) with wild gestures; his confused double-talk, gutteral words were translated by an overly-concise and brief English-speaking news voice-over when he finished ("His Excellency has just referred to the Jewish people")
  • the comically-tense scene in which Commander Schultz (Reginald Gardiner) instructed five unknown locals (one of whom was the barber) to be part of a sacrificial selection process - to pick an assassin to eliminate the fascist Adenoid Hynkel; the individual who found a coin in one of five small pudding cakes would face a suicide mission; the barber painfully consumed three coins (only to hiccup them out at the last moment, like winnings spit out from a slot machine); the joke was that all of the cakes contained a coin and the participants kept trying to secretly pass the coins off to the others
  • the comedic scene of Hitler-like Adenoid Hynkel and Mussolini-like Benzino Napaloni (Jack Oakie) of Bacteria, seated adjacent to each other in adjustable barber's chairs as they competed to be higher in their adjacent chairs
  • the sublime mock ballet sequence of Herr Hynkel uniformed in his Hitler-like outfit in his imperial office - an "emperor of the world" ballet/dance performance with a giant, balloon-like floating globe of the world; it was a visual, satirical metaphor of the world he hoped to dominate; at the end of the dance, as he held out the conquered world, it suddenly exploded in front of his face - he picked up the tattered rubber rag - all that was left of his world; distressed, he whirled around, put his head on his desk, and with his back to the camera, he burst into tears
Hynkel Dancing With World Globe Balloon
  • in the film's infamous closing, the "Look up, Hannah" anti-fascist, pro-democracy speech about hope and human rights made by the Jewish barber, fakely disguised as Hynkel; the speech was heard around the world on the radio and by now-refugee Hannah (Paulette Goddard), Hynkel's maid and neighbor, and by her family; the passionate speech was delivered to confront the imminent threat to world civilization from Nazi dictatorship, and to plead for human brotherhood: ("Hannah, can you hear me? Wherever you are, look up, Hannah! The clouds are lifting! The sun is breaking through! We are coming out of the darkness into the light! We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah! The soul of man has been given wings and at last he is beginning to fly. He is flying into the rainbow! Into the light of hope! Into the future, the glorious future that belongs to you, to me, and to all of us. Look up, Hannah! Look up!"); the sequence ended with Hannah in a silhouetted side shot, looking up heavenward
"Look up, Hannah" Final Speech

Jewish Barber Shaving Customer


Adenoid Hynkel's Mock-German Speech


Coins in Pudding Cake Scene

Dueling Barber Chairs Between Hynkel and Napaloni

The Great Escape (1963)

In this WWII prison-camp escape action-film from John Sturges, an epic film about the building of a tunnel in 1943 for a 'great escape' from the Stalag Luft North:

  • the introduction of the character of an Allied POW loner - the irreverent, "hot-shot pilot" USAAF Captain Virgil "Cooler King" Hilts (Steve McQueen), who was shot down, imprisoned, and had developed a troublesome reputation for numerous attempts to escape from prison camps 18 times
  • the early scene of Hilts' complaint and explanation to prison-camp officer Strachwitz (Harry Riebauer) that his baseball had rolled under a barbed-wire perimeter fence ("But my baseball rolled over there. How am I gonna get my baseball?") - although he was actually testing the prison camp's defenses - and as a result, he received a barrage of machine-gun fire to stay clear; the officer had warned: "You fool! To cross the wire is death!...The warning wire! It's absolutely forbidden to cross it. You know that" - and then Hilts admitted the real truth to superior Luftwaffe Commandant von Luger (Hannes Messemer): "I was trying to cut my way through your wire, because I wanna get out" - he turned over his wire cutters, and then insolently noted: "I haven't seen Berlin yet, from the ground, or from the air. And I plan on doing both before the war's over"; Hilts was punished with twenty days of isolation in "the cooler" for rule-breaking and for being irreverent and "ill-mannered"
  • the scenes of Hilts' "cooler" punishment, where he wiled away the time by tossing a baseball against the concrete wall and catching it with his mitt
  • the meticulous plans of a mass escape from the high-security POW camp, by building three different tunnels (nicknamed "Tom," "Dick," and "Harry") to provide a way out for about 250 of the prisoners, organized and led by RAF Squadron Leader Roger Bartlett (known as "Big X") (Richard Attenborough); fortunately, the defiant Bartlett had been imprisoned by "every escape artist in Germany" - a team of experts all with descriptive nicknames: "The Scrounger," "The Manufacturer," "The Tunnel Kings," and "The Tailor," among others
  • the scene of the demise of Scottish RAF Flying Officer Archibald "Archie" Ives, who became so desperate when the main escape tunnel was discovered, that he walked in a daze to the barbed wire surrounding the camp, climbed up in full view of guards, and was shot dead (Hilts was too late in saving him); Hilts was motivated to inform Bartlett that he was going to engage in a reconaissance mission: "Sir, let me know the exact information you need. I'm going out tonight.
Discovery of a Tunnel by Germans
Ives in a Daze Walking Towards the Fence Perimeter
Ives Shot Climbing the Barbed Wire Fence
  • the memorable sequence of Hilts' (actually stuntman Bud Ekins) exciting, unexpected attempt to escape from a German checkpoint as he daringly vaulted a stolen German motorcycle (a Triumph TR-6 Trophy 650CC, actually a British model and not a German made BMW) over a first-line, six-foot barbed-wire fence at the German-Swiss border; but before he was able to jump a higher second-line fence, his motorcycle was shot from under him, and he become entangled and ensnared - and was captured
Hilts' Famed Motorcycle Jump
Over One Barbed-Wire Checkpoint Fence
  • the closing scene of Hilts' dramatic entrance back into the prison in handcuffs, where he was told by the recently-relieved Commandant, Luftwaffe Colonel von Luger (due to having failed to prevent the breakout) that he was "lucky" because "fifty" other POW friends of his who had been recaptured were murdered (under the pretense that they were trying to escape); the commandant added: "It looks, after all, as if you will see Berlin before I do"
  • the ending scene of Hilts' return to the "cooler," where he was again heard by the guard, who paused to listen to him endlessly bounce a baseball against his cell wall into his mitt
  • the film's final dedication to the "Fifty" who lost their lives

Hilts Questioned by Strachwitz


Hilts Punished by Commandant von Luger

In the Cooler, With His Baseball Mitt

RAF Squadron Leader Roger Bartlett

Secretly Digging One of the Tunnels

Hand-Cuffed Hilt's Return to Prison, and Words for the Commandant: "It looks, after all, as if you will see Berlin before I do"

100's of the GREATEST SCENES AND MOMENTS
(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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